Sentences with phrase «contemporary means of image»

Oehmke's practice explores the intersection of fine art, celebrities and pop culture, and contemporary means of image making.

Not exact matches

Almost every department of theological study is involved at this level, and this means not only attention to the symbols and images of the Christian faith; it also means attention to the symbols and images and art forms of the contemporary world, as they are encountered in literature and the fine arts, but also in popular expressions, community rituals, social ideologies, and not least in the mass media of the time.

In a time when the word icon can mean anything from commercialized images that flood the media to religious icons, the paintings of Linda Smith, Secular Icons, help to fill a void in contemporary life.

The artist aims to capture content, specifically in search of «giving narrative life to objects, to alter their course, utility, and to amplify their charm; inscribing meanings and stories to these same objects, removing their varnish so as to not be perceived as «the [immutable] originals»; provoking collisions between images and assembling vernacular history with fantasies; fomenting a contemporary prosopopoeia, where a simple leather cushion, a tennis racket, or a lid of a tin biscuit box bare faces and voices.»

Although Winton chooses acrylic wash, the images in the exhibition at Cobalt Contemporary Arts Gallery are essentially drawn images; drawing provides a means of gathering information from the places she visits and expressing it with a sense of immediacy.

The artist enlisted traditional craftsmen to carve portions of the images onto the doors creating a contemporary object using traditional means.

Clickbait may well be today's main mode of content architecture, and that probably means that any understanding of a contemporary image should be networked.

While some Pop artists use photography to react to consumer culture, Robert Heineken repurposes found magazine imagery to talk about the media's role in objectifying women, Richard Prince and Sarah Charlesworth of the Pictures Generation push the boundaries of image appropriation, Christopher Williams talks about means of image production and contemporary artist Lucas Blalock confuses subject and backdrop through Photoshop.

Through a variety of historical objects from MIA's collection, in juxtaposition with photographs and contemporary artworks inspired by the Qajar period, we explore the meaning of the image of women at the onset of modernity.

Not only is this book an overview of contemporary painting, it is also an enquiry into how we experience its images, what they mean and why the practice remains vital.

Contemporary artist Ai Weiwei, an early and enthusiastic champion of Ren Hang's images, describes their meaning as something uniquely Chinese: «[Ren Hang's] works interpreted sex in a Chinese way, which contained a sense of loss and sorrow.

Rudolph reintegrates allegory and symbolism into contemporary art by disposing the image of its religious meaning.

Rituals since 1851, Fondazione La Triennale di Milano, Milan, Italy Self: Image and Identity, Turner Contemporary, Kent, UK Chercher le Garçon, MAC / VAL, Paris, France In Search of Meaning, Museum de Fundatie, The Netherlands Staying Power: Photographs of Black British Experience 1950s - 1990s, Victoria and Albert Museum, London, England Making Africa: A continent of Contemporary Design, Vitra Design Museum, Weil Am Rhein, Germany Unravelling Identity: Our Textiles, Our Stories, Textile Museum, The George Washington University Museum, Washington DC, USA Heartbreak Hotel, presented by the Vanhaertens Collection, Venice Biennale, Italy 10th Anniversary Exhibition, Museu Afro Brasil, Sao Paulo, Brazil The Inverted Worlds, BPS 22, Charleroi, Belgium La vida es esto, DA2, Salamanca, Spain

Jane Hammond's seemingly vintage silver gelatin prints are actually contemporary collages, built narratives that convey the fluidity of an image's meaning.

Displaying a wide array of Lassry's work in the Dakis Joannou Collection, this volume includes an essay by Tim Griffin that examines how the artist challenges the nature of our perception and questions the meaning of the contemporary image.

2011Out of Focus Photography, Saatchi Gallery, London, UK (catalogue) Second Nature: Abstract Photography Then and Now, deCordova Sculpture Park and Museum, Lincoln, MA «Render: New Construction in Video Art», California Museum of Photography, University of California, Riverside, CA The Only Rule is Work, Galerie Waalkens, Finsterwolde, Holland Painters Painting, Atlanta Contemporary Art Center, GA Eslov Wide Shut Part II, Mallorca Landings, Mallorca, Spain Movable Facture, Vivo Media Arts Centre, Vancouver, B.C., Canada (catalogue) A Useful Looking Useless Object, Sierra Metro, Edinburgh, Scotland Sound + Vision: Crossroads, Plug - In, ICA, Winnipeg, Canada Effects & Affects: The Alphabet, Fumetto Festival, Lucerne, Switzerland You Killed the Underground Film or the Real Meaning of Kunst bleibt... bleibt... & The Sisters, (Group show with Bettina Koester, Wilhelm Hein and Jennifer West), Lost Property, Amsterdam Update no. 2, White Columns, New York (catalogue) Another Kind of Vapor, White Flag Project, St. Louis, MO Contour 2011, 5th Biennial of the Moving Image, Mechelen, Belgium Adult Contemporary, Kavi Gupta, Berlin How Soon Now, Rubell Family Collection, Miami, FL (catalogue) California Dreamin, Arte Portugal Biennial, Lisbon, Portugal Home Show Revisited, Contemporary Arts Forum, Santa Barbara, CA (catalogue) Abstract Moving Image, Taka Ishii Gallery, Tokyo, Japan One Person's Materialism is Another Person's Romanticism, Remap 3, Athens Greece

Focusing on implications of conformity and its expectations as presented by contemporary artists, this show looks at images that explore the meaning and attitudes behind the outfit — be it a three piece with tie or a superhero.

It was part of the Tehran Museum of Contemporary Art collection, which meant it disappeared from view after strict rules on images of women introduced after the 1979 revolution

Humanism and Technology, The Human Figure in Industrial Society, 600 Seoul International Art Festival, National Museum of Contemporary Art, Seoul, December 16, 1994 — January 14, 1995 (Catalogue) Prints and Process, Old Dominion University, Norfolk, Virginia, October 1994 Democratic Vistas: 150 Years of American Art from Regional Collections, University Art Museum, University at Albany, New York, September 24 — November 13, 1994 (Catalogue) Master Prints from the Collection of The Butler Institute of American Art, The Butler Institute of American Art, Youngstown, Ohio, September 9 — October 19, 1994 Visible Means of Support, Wadsworth Atheneum Museum of Art, Hartford, Connecticut, June — November 1994 Against All Odds: The Healing Powers of Art, The Ueno Royal Museum and the Hakone Open Air Museum, Japan, June 9 — July 30, 1994 A Floor in a Building in Brooklyn, Richard Anderson Gallery, New York, June 9 — July 30, 1994 (Curated by Chuck Close) The Assertive Image: Artists of the Eighties, Selections from the Eli Broad Family Foundation, UCLA, University of California, Los Angeles, June 6 — October 9, 1994 From Minimal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection, National Gallery of Art, Washington, D.C., May 29 — November 27, 1994 (Catalogue) Facing the Past: Nineteenth — Century Portrait from the Collection of the Pennsylvania Academy of the Fine Arts and Confronting the Present, The Frick Art and Historical Center, Pittsburgh, May 27 — June 24, 1994 Inaugural Group Exhibition, Off Shore Gallery, East Hampton, New York, May 14 — June 13, 1994 30 YEARS ---- Art in the Present Tense: The Aldrich's Curatorial History 1964 — 1994, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, May 15 — September 17, 1994 (Catalogue) Face - Off: The Portrait in Recent Art, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, September 9 — October 30, 1994.

Thomas» art comments on contemporary identity and the history of how images make meaning.

Warhol and his contemporaries sought to eradicate the notion of the «genius artist» and downplay the role of originality in art, adopting mechanical means of generating images, such as screen - printing, which theoretically allowed for an endless production of images.

Organized by theme, and including 100 images of artworks in addition to writings by Will Self, David Means, Ralph Rugoff and Laura Hoptman, this volume explores Condo's relationship to art history, popular culture and contemporary society.

Katja Novitskova and Timur Si - Qin Artists: Katja Novitskova and Timur Si - Qin Curated by Agatha Wara Adopting the language of global advertising and offering acute reflections on what it means to live under today's historical conditions, Katja Novitskova and Timur Si - Qin present images, objects, and texts that address our contemporary state of conflation: the value transitions between the biological and the cultural, from information into matter.

Influences are complex, involving layers of meaning, conversations, images viewed and skills learned, but in one form or another, all artists (save perhaps those fringe, Art Brut characters and the completely untrained) are conversing with their predecessors and contemporaries.

Recent solo exhibitions include; Salt 11: Duane Linklater, Utah Museum of Fine Arts, Salt Lake City (2015); ICA@50: It means it's raining, ICA, Philadelphia (2014); Decommision, Maclaren Art Centre, Barrie, Ontario; Learning, Susan Hobbs Gallery, Toronto; Something about encounter, Thunder Bay Art Gallery, Ontario; Grain (s), in collaboration with Tanya Lukin Linklater, Images Festival co presentation with Museum of Contemporary Canadian Art, Toronto; and Secondary Explanation, The New Gallery, Calgary (all 2013).

This idiom takes on special meaning when applied to the West's preoccupation with certain stereotypes in contemporary Chinese art — images of the Red Guards, Mao Zedong and panda bears — as well as to the fetishized mass - consumption of cultural objects that satisfy its imagination of a new China in transformation.

For Patterson's first monographic museum show in New York, she is presenting six tapestries and a life - sized tableau composed of six mannequins dressed in a «kaleidoscopic mix of floral fabrics» that «present a complex vision of what it means to be male in contemporary Jamaican culture» (image at top of page).

Solo exhibitions include; From Our Hands, Mercer Union, a centre for contemporary art, Toronto (2016); Salt 11: Duane Linklater, Utah Museum of Fine Arts, Salt Lake City (2015); ICA@50: It means it's raining, ICA, Philadelphia (2014); Decommission, Maclaren Art Centre, Barrie, Ontario; Learning, Susan Hobbs Gallery, Toronto; Something about encounter, Thunder Bay Art Gallery, Ontario; Grain (s), in collaboration with Tanya Lukin Linklater, Images Festival co-presentation with Museum of Contemporary Canadian Art, Toronto; and Secondary Explanation, The New Gallery, Calgarycontemporary art, Toronto (2016); Salt 11: Duane Linklater, Utah Museum of Fine Arts, Salt Lake City (2015); ICA@50: It means it's raining, ICA, Philadelphia (2014); Decommission, Maclaren Art Centre, Barrie, Ontario; Learning, Susan Hobbs Gallery, Toronto; Something about encounter, Thunder Bay Art Gallery, Ontario; Grain (s), in collaboration with Tanya Lukin Linklater, Images Festival co-presentation with Museum of Contemporary Canadian Art, Toronto; and Secondary Explanation, The New Gallery, CalgaryContemporary Canadian Art, Toronto; and Secondary Explanation, The New Gallery, Calgary (all 2013).

His use of materials is, to use the same word with a different meaning, impressively appropriate: the silver gelatin process gives the images, though contemporary, a faded archival aura, like old 19th century ethnographic photography, while evoking the shiny metallic surfaces of modern cars.

Sobering, direct, and poetic, Mauri's work recovers individual and collective historical memory; it addresses themes of mass communication and manipulation, and brings to light the political dimension of images that proliferate throughout contemporary society by means of our most prized tools.

Whether it is the use of traditional painting mediums, digital technologies, or other techniques, I am in search for modes of image - and object making that question the meaning, process, and definition of contemporary abstraction.

Participating artists use the practice of self portraiture as a means to contemplate, as both creator and subject, contemporary issues of gender, identity, sexuality, body image, censorship, and self - liberation.

It is hard to say if Smart Tree is a relic from a distant past or an image of a near future; either way, as with all of Ward's sculptures, it captures what it means to live and grow roots in a contemporary metropolis.»

This kind of picture (Low Budget Homes Plans In Kerala Luxury Uncategorized Kerala Home Design 1000 Sq Feet Distinctive In) above is branded with: low bud homes plans in kerala, low bud house plans in 3 cents in kerala, low bud house plans in kerala with cost, low bud house plans in kerala with price, low cost contemporary house plans in kerala, low cost home plans designs kerala, low cost home plans in kerala photos, low cost house floor plans in kerala, low cost house plans in kerala free, low cost house plans in kerala style, low cost house plans in kerala with images, low cost house plans kerala models, low cost house plans of kerala, low cost small house plans in kerala, posted by means of surya in 2017-02-11 21:49:16.